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“The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn burn like fabulous yellow roman candles exploding like spiders across the starts.” (Kerouac)

Every artist burns to create something true from their own peculiar trove of impressions, beliefs, disappointments and dreams. As artists we share in this passion. What we perceive and how we express it is our own.

I look at a face and I see the skeleton behind it. For someone else it’s the wrinkles and asymmetries that stand out, the weird details of shadow and light. And for another it’s not features at all but expression, the tilt of the head or an unexpected blush of color pared with a shrug. We may regard the same being but what we heed is entirely subjective - completely unique and slightly mad.

I say mad because our perceptions, any constructions, come from a present so fleeting that it hardly exists. Life is nothing but a collection of slipping-away seconds, heartbeats, twinklings that are here and then gone. The future is unknowable and the past is behind us.

The immediacy of living is part of the reason it can be so hard to connect. We have to catch each other in that exact millisecond of experience. Our sense of presence is so challenging. But that flash is the sweet spot. It is a point of convergence, a place where diversity and similarity collide.

In social media, Hashtags are the sweet spot. Hashtags give us a way to share in a singular stream of content from our own points of view. #LoveWins on Twitter was the most viral hashtag of the same-sex marriage ruling. #BlackLivesMatter is a rallying cry against racist police violence. Kim Goulbourne’s genius was to bring to life an art exhibition, Hashtags Unplugged, that externally visualized 10 of the most memorable and viral hashtags. Twenty-five artists were selected for Hashtags Unplugged to display their diverse interpretations of one of the ten: #LoveWins. #BlackLivesMatter. #TheDress. #GenderEquality. #100HappyDays. #WhyIStayed. #LookLikeAnEngineer. #BreaktheInternet. #NotOneMore. and #PlutoFlyBy. (See http://hashtagsunplugged.com/catalog )

My contribution to the exhibit (#BlackLivesMatter) was a mixed media piece, 'Crosshairs', a sculpture of etched glass, stainless steel, copper, solder, acrylic and paper. The inspiration for the piece came when, in 2015, Miami police were discovered using the mugsshots of black men for target practice. 'Crosshairs' considers the dehumanizing impact of racial profiling where individual existence is devalued and human life is equated with shooting targets. This piece is a reaction to the numerous deaths of African Americans due to police actions. It confronts the violent flesh and blood reality of ongoing racial inequality, specifically referencing the shooting and autopsy report of Michael Brown.

'Crosshairs' (Leigh W. Jerome)

Goulbourne’s Hashtags Unplugged was a great success. The art itself drew many people in; and the location was a draw, a Thursday night show at Caelum Gallery in Chelsea. But, each of the hashtags also brought in their own community and there is a strong community around the # as well. Two hundred people came to the opening for Hashtags Unplugged and the (Twitter, Instagram, Snapchat etc) posts and reposts from the show were abundant. The exhibit fully inhabited the sweet spot where unity and diversity overlap.

Hashtags Unplugged created a totally new space to view art for the exchange of aesthetic, social and political impressions. This is an revolutionary construct because rather than a curated show that is a passive intake of art and information, this exhibition was designed to create a new space for social change, a place to think in a truly unique way - together.

We share a collective “yes” because for a moment when we see an idea through a unique but shared lens. We have a “moment” that draws on the best parts of ourselves – even when the art itself is exposing what is worst. We say yes – and we rally against injustice (#BlackLivesMatter). We say yes – and we challenge ourselves to be the author of our own destinies (#100HappyDays). We say yes – and we celebrate love and social justice (#LoveWins). We say yes – and we laugh (#TheDress) or learn (#PlutoFlyBy) and we make new connections - between people as well as within our own neural pathways - connections that are rich spaces where art, coupled with community, help us to build a better world.

The first time I set up an aquarium I killed all the fish. I essentially poached them by putting them in the water too soon. The next time I was more patient but again I killed all the fish - this time by cleaning the tank too fastidiously. I killed a lot of fish before I fully understood the interrelated complexities of lighting, tank size, aquarium substrate, pH, and fish compatibility. It took even longer to build an ecosystem that would not just sustain life but would truly facilitate a thriving community.

Art is not static, it is alive. Each piece of art represents myriad emotions, perspectives, political and moral positions, metaphor and narrative, plus hundreds of hours of the artist’s labor and devotion to a vision. Art is a living piece of the artist’s soul. As with all living things, the art’s expression is radically context sensitive. Integrity is maintained within a state of dynamic equilibrium where it will either shine with infused energy or languish in aesthetic mediocrity.

Curating art is a dynamic process in which expressions of artistic talent are harnessed in a organized, stable configuration. Unfortunately, many curators view art as static composition of materials and energy, or as Regina Spektor sings:

First there’s lights out, then there’s lock up

Masterpieces serving maximum sentences

It’s their own fault for being timeless

There’s a price to pay and a consequence

All the galleries, the museums

They will stay there forever and a day

All the rowboats in the oil paintings

They keep trying to row away, row away…

While education and networks are essential in curatorial practice, it is the (rare) curator who understands how to manage the raw life force of art through the adaptation to changing conditions and feedback loops - to enable a show to excel. This factor elucidates the seeming endless discussions about curating as an art form.

I recently had the good fortune to exhibit a piece (Fuck It All, 2015) in a juried show at the Non-Fiction Gallery in Savannah, Georgia where Alexandra Chamberlain, Exhibitions Director curated: American Vices. Ms. Chamberlain’s keen curatorial skills established a show that went beyond a competent presentation of the art pieces. American Vices created a compelling discussion between the artist and the audience. Even more, it shifted the discussion from a passive understanding of the presented art to active participation within the context.

An engineered resonance was apparent from the start, in the gallery’s call for submissions:

We’re sure you’re a lovely person of many virtues – a person who donates to charity, supports local farming initiatives, works to diminish pollution, and tips generously. But to paraphrase Bertrand Russell: no one is interested in other people’s secret virtues. Whether it’s greed, narcissism, perversion, selfishness, wastefulness, vanity or other bits of wickedness, America is infamous for its vices. American Vices invites you to crawl down into the belly of American immorality and show us what you find.

Entry was inevitable.

American Vices established a context of curiosity and provocation where the artist’s work was able to connect to and move the audience who viewed it. When I asked Alexandra about her curatorial vision she responded: “I've always been interested in pushing the boundaries, and artists who are pushing the boundaries with their work; not just in terms of materials and mediums, but in terms of their content and concepts. A beautiful work of art is not just about the face value and aesthetic imagery presented at the forefront, a beautiful visual experience can be created out of the dark and dirty concepts inherent in our everyday lives.”

This curatorial perspective can be seen in the work I was inspired to submit. Fuck it All is a bold piece that confronts suicide and choice in a direct, unavoidable manner.

Alexandra explained, “For American Vices, we wanted to create a dialogue between ourselves and the artists in which the art work present in the gallery could answer this tumultuous topic, as well as bring to light the difficult or dark side of contemporary American culture through a visual lens.”

The response to their aggressive call was “almost 200 amazing submissions, making the jury process both exciting and exceedingly difficult to narrow down. We ended with choosing 40 works of art from 26 artists in order to create an exhibition that truly speaks to all of our American Vices in whatever forms they may come.”

One of the biggest challenges of curating a group show is being able to harmonize many voices to create a single, resonant exhibit. Alexandra put it this way, “I try to understand as much as possible not just the medium and visual appearance of a work, but the story and reasoning behind each work's creation in order to juxtapose works with one another that essentially create a conversation between them. It is never simply the visitors in the gallery doing all the talking during an exhibition; it is the works themselves that start to speak to one another in a carefully curated space.”

So a good curator is able to align with the artist perspective; but the curator must also understand their audience. Ms Chamberlain elaborated: “I'm not interested in curating a space or exhibition that doesn't allow for the visitor's own interpretation and conversation to be included in the creation of it. I want a response from the visitor, whether good or bad. I want a response, a dialogue.”

It was a great pleasure to be a participant in American Vices. Alexandra Chamberlain, Clinton Edminster, and Kayla Goggin are nurturing a cutting edge and sophisticated climate for contemporary art in Savannah, a dynamic vision that is all too often lacking in gallery exhibitions. The Savannah art scene is very fortunate to have their progressive talents.

As Alexandra summed up, “Great curating allows for the creation of new dialogue, discussion, possible argumentation, and definitely the development of forward momentum.”

Weeks of hard studio work welding, grinding and applying patinas have finally paid off - your new piece is pure genius. However, the metal requires a protective topcoat in order to impede oxidation and corrosion. Even if the piece has been left to weather naturally the weathering will eventually need to be arrested. Just encapsulating corrosion won't stop it from progressing. Without protection the moisture and chemicals in the air will alter the color of the patina and eventually turn the piece into a pile of rust in the corner.

The application of a clear coat is the final step of the patination process (see BURN post: Burn-Junkie Color Lounge: An Introduction to Chemical Patination). Deciding what kind of topcoat to use depends on 1- the patination 2- the metal and 3- the look you want to achieve: matte, satin or gloss. The flatness or glossiness of the sculpture is related to how light reflects or diffuses off the object’s surface. Like everything else, figuring out your preference requires some experimentation. It’s an aesthetic call.

A nonporous lacquer or a wax or metal oil clear coat is critical for sculpture preservation. A clear coat wil impede corrosion, protect the patina and improve the sculpture’s overall resistance to scratching, flaking and other surface damage. When working with metal it might seems like a savvy economical decision to reach for the RustOleum but I don’t recommend using cheap spray coatings. Yes, they are inexpensive and easy to use – pop the top, point and shoot; but, in time the finish can flake and, without adequate UV inhibitors, the patina can take on a garish yellow hue. It will break your heart!

It is soul crushing to watch your sculpture develop fish eyes, orange peel or take on some other streaked, bubbled or bruised horror, especially if you have taken care to follow a product’s instructions. The thing is there are learning curves associated with the successful application of the various finishes. In this post, I’ll tell you about my favorite topcoats and the (extra) steps I follow when using these products.

Waxes and Oils

Waxes and oils have been used as surface protectants for 2000 years. They produce a lovely dull finish that can be buffed to a rich natural luster that will enhance the natural patination of metal and the details of the fabrication. Waxes and oils look like the metal itself, only better. Waxes and oils do not actually bind with the metal – they are coatings on top of the metal - so they must be reapplied periodically (every year or two depending on the storage conditions). A clear lacquer applied over the surface will reduce this problem and will preclude the need for reapplication of the wax or oil.

There are a range of oils and waxes that may be applied to metal. Oils include linseed oil, lemon oil, walnut oil, Penetrol, and metal oils created especially for metal work. Oils made especially for metal have hardener added and are made with or without pigmented color (www.SculptNouveau.com). This line of oils is beautiful and easy to use (see below). But there are a couple of tips. To begin with, oils should be applied sparingly as yellowing may occur. Use thin coats and let the oil harden and dry completely before buffing. This can take a couple of days, which is longer than noted in the instructions. When you buff, be sure the cloth you use is lint free! Also, make sure your cat hasn’t been sleeping on the cloth. Picking out fur from a still tacky finish is not fun.

Johnson’s Wax, Constantine Wax, Carnauba, Treewax™, and Renaissance Wax are some of the waxes that can be used with metal. A mixture of bees wax, turpentine, and linseed oil may also be used. Finally, Sculpt Nouveau manufactures a great range of waxes especially for metal work with added pigment, UV inhabitants and hardeners. When you apply waxes, do so in thin coats as they will be smoother and easier to buff. Also note that waxes may darken the patina’s color over time.

The application of waxes and oils is pretty much the same. Clean your piece of dust and grime. Ensure the sculpture is completely dry before the application of the finish. If moisture gets trapped beneath the finish it will cause problems. I use a heat gun to warm up the piece first. That way I know the piece is dry and a warm application provides a smoother process. It also helps with penetration of the finish. Warm the piece gently, to about 200°, and apply a thin coat of the wax or oil with a brush. Allow the piece to cure at least 12 hours. Once dry and hard, burnish the piece with a soft, clean cloth. A second and third coat may be applied as desired. When warm application is not possible the wax or oil may be applied cold. Wax that is applied cold can be diluted with benzene, naphtha or mineral spirits to make application easier and smoother

Non-wax Sealers

Urethane, lacquer or acrylic can be used over hot and cold patinas as well as over sculptures that have metal or oil coatings. All sealers should be applied in thin coats and given plenty of time to dry between coats. There are a lot of lacquers to choose from and they all have learning curves.

The two clear coat finishes I use most frequently are: DiamondFinish and Permalac. DiamondFinish produces a high gloss finish while the Permalac finish is a more natural satin. Both are very durable and neither will yellow or flake over time, even with exposure to sunlight. These are my go-to clear coats but both can vex you to violence. The unique issues of each product can easily ruin your finish or at least ruin your day. Hopefully becoming acquainted with the issues will allow you to take precautions that will make the product a better finish and you a better person.

KBS Diamond Finish

KBS Diamond Finish is a clear coat that can be applied directly to prepped ferrous and non-ferrous metal surfaces. The product can also be used over patinas, paint, coatings and on non-metal surfaces. It is self-leveling and will not leave brush marks. Once cured, the high-gloss finish is very durable and resistant to surface damage. Diamond Finish clear coat can be applied by brush, roller and conventional spray gun and does not require the addition of a hardener.

You know how sticky a two-part epoxy can be right? This stuff has that same sticky viscosity so unless you want to take a Xylene bath, put on latex gloves before you get started. Also put on a mask and turn on your exhaust. Now that you look great and are breathing easy, read all these suggestions thoroughly before you open the can. You’ll want to apply 2-3 thin coats and allow each coat to cure for at least six hours (I allow 8-12 hours between coats). The ideal temperature range for application is 60-75° F with low humidity. So, if your application is too thick or is applied in wet or humid conditions surface bubbling can result when released carbon dioxide becomes entrapped beneath the top surface layer of paint. The sensitivity to humidity has not been a problem for me but it can be so, if it is humid, use a heat gun to assist with the initial drying. That will take out some of the humidity. And, if the finish doesn’t flow on easily, thin it 10% with Xylene.

The big issue I’ve found with the Diamond Finish is that once the product is exposed to oxygen, it hardens quickly. The instructions include six warnings related to this: Do not paint out of the can; Keep lid on at all times; Do not shake can; Seal can immediately after use; Keep paint groove free of coating; After a good stir, dispense a working amount of Diamond Finish into a separate container and seal original can immediately; Unused paint should NEVER be put back into the can as it will shorten its shelf life and cause pressure build-up possibly popping the lid.

Let me just say, these warnings do not even begin to convey how urgent this issue is. You may think you know what quickly means but you need to go next level here. Further the instructions give the impression that you can address this issue easily if you keep the can clean and close the lid. Hysterical! They tell you to dispense into a different container and put plastic wrap between the lid and the can. None of these approaches work. If open the can, apply a thin base coat, close the can and go to bed – the rest of the can will be completely congealed into a hardened mass by the morning!

Diamond Finish is great but it is expensive. Learn from me. If you are going to use this product (and you should) this is how to approach it:

Buy the product in the small cans, only as much as you need for the job. Don’t think Costco here. Large is not better.

Don’t even think about pouring the product into a glass jar with a screw lid. You’ll just end up with a paperweight.

Lay out everything you’ll be using before you open the can: Gloves on. Exhaust on. Brush or sponge or sprayer ready to go. Xylene poured into a jar for cleanup. Cloth ready to clean up your brush and spills. Sculpture set in the place where application will occur.

Open the can. Pour out only the amount you need into a container you can throw out once you complete the application. Cover this smaller container with some kind of lid immediately.

Now, as quickly as you can, clean the lip, sides, and top of the can (use a paper towel damp with Xylene). Clean the can thoroughly and pour a little of the Xylene into the groove of the can where the lid will snap down.

This next bit is essential - before closing the can of Diamond Coat, spray a long blast of Bloxygen into the can - then immediately snap the lid closed and make sure it is closed securely. Bloxygen is basically Argon in a spray can. Argon is heavier than oxygen so it keeps the moisture out of the can and prevents the Diamond Finish from hardening. Otherwise, during storage, the oxygen or moisture that's sealed in the container will continue to cure and thicken the Diamond Finishes and totally ruin the leftovers. I have used Argon from my MIG when I’ve run out of Bloxygen, but it is an inferior way to dispense Argon in this circumstance. I’ve also heard you can breathe into the can (since CO2 is heavier than oxygen) but since Argon from my MIG barely works, I find the notion pretty ridiculous. Don’t be cheap and skip this step. The cost of losing a can of Diamond Finish will be a greater loss.

With the can of Diamond Coat securely closed up, take a deep (but quick) breath and return to the clear coat you’ve dispensed. Apply it to your sculpture. If it is thick you can add 10% Xylene – but you’ll really need to stir and stir this mixture or the xylene will likely take off your patina.

When you’ve finished the application, throw away whatever is left along with whatever xylene is leftover (and get the smelly refuse out of your studio), clean your brush well (before the product dries in the bristles) and pour yourself a drink. You deserve it. I know this all sounds a little stressful but the finish IS worth it and once you get used to the process, it’s not so bad.

A couple of final suggestions – Be very sure your patina is completely dry and cured before using Diamond Finish. I use different brushes for different colors when I am applying the first coat of Diamond Finish as I’ve had colors (especially reds) bleed into one another if I just brush in one continuous stroke with a single brush. This is not a problem after the first coat cures. Another thing I often do is to apply an initial quick coat of a finish like Sculpt Nouveau’s Smart Coat (a water based urethane/ resin based finish). Smart Coat application and clean up are fast and easy and the finish dries quickly, creating a barrier between the patina and the initial Diamond Finish so the colors do not bleed. Finally, take the time to try out your patina and finish on a scrap piece of metal before applying it to your sculpture. This way you’ll move through the Diamond Finish learning curve without ruining your artwork and becoming suicidal.

Permalac

I really love the final results of a Permalac topcoat – smooth, natural and durable; but I have experienced significant problems with the application. It’s really tricky. I don’t know why they don’t provide honest directions to troubleshoot issues but they don’t. The instructions read as if Permalac can be applied by any competent three-year-old; but it’s not true. Permalac can be maddening and since the instructions are lacking, panic is a natural response. Fortunately for you, I have ruined finishes, panicked, started over and ruined them again until I have finally figured this stuff out (famous last words).

Permalac is a clear solvent-based lacquer containing UV and corrosion inhibitors. The topcoat comes ready to brush or spray on, in matte or stain finishes. Permalac also comes in a spray can, which is a great convenience, but it is very expensive. For large projects the cost can be prohibitive. The liquid Permalac is a more economical choice. If you are using a sprayer, you must dilute the Permalac with a thinner. Be careful to use the smallest necessary amount and ensure it is well mixed; otherwise your patina may also be thinned during application. Your layers should be applied as thin as possible. Barely mist on the layers and allow 10-12 hours drying time, even though the directions tell you to apply a second coat in and hour or two.

Surface preparation is always important but you’ll need to pay extra close attention if you are going to use Permalac. Dust or grease (even ambient dust in the room and oils from your fingers when handling the piece) can result in the appearance of rough patches of the surface. While these can be addressed with light sanding, the result is never perfect and the final product may not make you happy. To minimize problems, be fastidious in cleaning your piece (using a lint-free cloth) and wear protective gloves throughout the application to prevent the transfer of oils from your hands. Clean your piece before the initial Permalac application and clean again before you apply additional coats.

The second issue with Permalac is sensitivity to moisture. This is a really big issue! The directions indicate that there may be problems in high humidity but high humidity is not defined and it appears to be any more than .005% humidity. So, assume moisture is going to be a problem. I address the moisture issue with heat (I use a heat gun) and acetone (I use acetone in a spray bottle that can emit a very light mist). After cleaning the piece, heat the surface with a heat gun to 200°. Don’t skimp here. Make sure your piece is dry and warm. Apply the Permalac in a very thin layer. Apply sparingly with a small brush or a sponge applicator. Don’t use a brush like one you’d paint the walls with. If you apply the Permalac too thickly, bubbles may form. If there is any moisture, bubbles may form. If you breathe or blink during application, bubbles may form. To combat the frequent bubbling, be ready with a heat gun and acetone spray. As soon as you apply Permalac, use the heat gun to assist with the drying. And again, don’t skimp here. Take the time the topcoat needs…or bubbles may form. If you see bubbles appear, gently mist the spot with acetone and blast it with the heat gun. Go light on the acetone. You don’t want to take off the patina beneath. Between the spray and the heat, you can beat the moisture isssue. After the application of the Permalac do not touch the piece for 10-12 hours (or longer). While the Permalac dries to the touch pretty fast it seems to need the extra time to totally cure or there will likely be moisture trapped between the layers. Keep an eye on your piece during the first hour of drying in case further drying assistance (heat gun/acetone) is needed. Apply at least three coats to your piece. After the final application, apply a thin layer of wax (your choice) on top of the Permalac coating and allow that to cure as well.

Instructions for using patinas, solvents, clear coats etc. are often lacking in the details that are necessary for success and to troubleshoot problems. I recommend a run through on scrap metal before you apply any topcoat. The easiest way to do this is to use a piece of scrap of the same metal as your art piece. As you apply your patina to your art piece, also apply it to the scrap. By taking the time to make a dummy piece for testing you will be able test out your patina and clear coat on something you don’t care about. When problems occur, you will be able to make adjustments as needed without a full-scale psychotic break.

Traditional art genres are defined by specific mediums such as oils, ceramic and metal. Installation art assembles three-dimensional materials in direct relationship with the exhibition space in which it exists. Installations transform a specific space into an immersive experience. My artistic intent for ‘What Is / What If’ was to create an installation to explore individual perception and its impact on social construction.

At the center of ‘What Is / What If’ hangs Synaptic Plasticity, a representation of neural adaptively and social interconnectivity. On one side of the neural structure are considerations of conflict, loss, intolerance and violence (i.e. Crosshairs; Last Rites and Fuck It All); and, on the other: beauty, mirth and imagination (i.e. Imagine Play, Imagine Song and Imagine Peace). In sum, the installation is a space for examining how intractable conflicts can dominate our daily lives and how imagination might cause that focus to shift.

In Billy Collins poem The Afterlife, he considers our destination after death – what if:

Everyone is right, as it turns out.

you go to the place you always thought you would go,

the place you kept lit in an alcove in your head.

'What Is / What If' considers that our waking lives also may be constructed in relation to the ideas we keep alive – the violence we nurture, the horrors we can’t ignore and the dreams in which we dare to believe.

All living matter - all organic material - is carbon-based; so naturally, we attribute a premium to carbon-based matter. Almost instinctually we know that organic materials, such as wood, need to be cared for and nourished. A piece of sheet metal doesn’t necessarily arouse the same kind of TLC. We relate differently to inorganic material, especially once it has undergone processing. While organic and inorganic matter are elementally different, the distinction becomes obscured in a more general ecological framework. After all, inorganic matter provided the raw ingredients of life. Water is inorganic – so is air, as is most of the earth’s constitution (i.e. oxides and sulfides). Further, organic materials will eventually convert back into inorganic matter as they petrify into fossils, via years of water and mineral exchange. Anyway, the point here is that inorganic materials also respond to care.

It is a mistake to view metal as completely inert. Metals are reactive - they undergo complex chemical reactions when oxygen, hydrogen and acids are introduced. These reactions completely reorganize the structure of the metal surface. To me, this reactivity is bewitching. It is one of the reasons metal provides such a beautiful medium for art. There are hundreds of ways to introduce and layer chemical patination that will intensify, alter and otherwise transform the appearance of the base metal. In this way, the medium is alive.

Patination is the process of oxidation on the surface of metal. This “patina” occurs naturally, as witnessed when weathered copper becomes green (or verdigris); but patinas can also be intentionally created through the use of various chemicals. Artistic patination is a kind of controlled corrosion - an introduction of specific chemicals to the metal in order to stimulate a particular reaction and then, just-in-time, a suppression of the reaction.

When enamel is painted onto metal, it is applied over the top of the metal as a wholly separate coating. The metal surface is left to oxidize or rust beneath. A patina is not applied to top of the metal. Patination is a process whereby the applied chemicals bind with the metal surface and promote a transformation. The effect may be either transparent or opaque and there are myriad textures that consequently develop.

Chemical patination allows effects to be produced in a relatively short period time that, with practice, can have a predictable appearance. The color palette for artistic patination is substantial - from deep reds and oranges to lush blues and greens – from varied hues of whites and browns to numerous shades of distinctive blacks. Patinas can be carefully layered to achieve a rich and complex summation. While there are many basic patinas and teachable techniques, the execution of a successful patina is somewhat challenging. Everything can impact the patina’s outcome: composition of the base metal, purity of the utilized chemicals, constitution of companion water, surface preparation, method of application, intensity of heat, ambient temperature, light, humidity and duration of elements. The protective finish chosen to apply over the patina will also affect the overall appearance of your piece. This blog about the process of patination is an introduction. In later blog posts I’ll provide details regarding specific application processes.

Prepare your studio

Before you get started with artistic patination, remember that you are using chemicals– acids, chlorides, oxides and sulfates. The first priority in a metal studio really has to be safety. Any green or blue patination chemical likely contains copper or nickel salts, which are irritants – plus they are toxic. Darkening and oxidizing agents can let off noxious gases. In other words, patinas are often corrosive when handled and harmful to an unprotected respiratory system. Even low-level exposure can assault your nasal passages and lungs. So, be smart! Work only in a well-ventilated space and make sure that you seal up chemicals when they are not in use. Get yourself a quality respirator and use it (a respirator is far less effective when left hanging on a peg in the corner). Remember, you only have one set of eyes. Wear goggles and keep eye-flush available just in case. I always have eye-flush (saline), burn cream and a first aid kit nearby on a red go-to shelf (it’s easy to see and always in the same place). Handling patinas is not a good idea either – many chemicals are irritants and can be absorbed through the skin, so wear gloves when you’re working with patinas. You know, the basics here are pretty much the same as in chemistry lab: wear protective clothing, don’t mix chemicals together when you don’t know how they interact and don’t eat or drink in the studio.

Prepare your metal

Prior to the application of patina chemicals, you must clean the metal surface to remove all rust, dirt and traces of oils. Anything left behind will impact the outcome of the patination. Sometimes you want to keep a bit of a natural patina – other times a pristine surface is desirable. Surfaces are best fully cleaned by bead blasting immediately prior to the patina application but this is not always possible (or desirable). Start with a good detergent wash with a bristle brush and a through rinse in cool water followed by wiping the metal with a solvent like denatured alcohol or acetone. There are also metal degreasers specifically made for artistic patination. Keep in mind that your choice of cleaning method will often affect the way the patina develops. Anything used on the surface of the metal may accelerate or impede the chemical process. Sometimes you’ll need to sand the metal – sometimes you’ll just want to lightly polish the metal in order to even the surface and to help the patina adhere to the surface. For sanding, I use compressor tools or a flap disc on my grinder; for light polishing I like white scotch-brite pads which are not terribly rough and they don’t leave a residue behind. Wipe down your surface after cleaning and make sure it’s completely dry. Use a clean cloth and a heat gun on low setting (or a hair dryer). Don’t use sustained heat that is above 200°. Follow the metal preparation immediately with a primer, base coat and/or patina application. Steel begins to oxidize within a couple of hours after cleaning and the surface will be affected.

Base Coats

Coatings can be used that contain various ground metals (e.g. copper, bronze) suspended in an acrylic binder. These metal coatings can be used to create a reactive finish and patination chemicals for those specific metals can be used thereafter. If you are applying a coating to your metal prior to patination or in lieu of patination, you’ll want to use a primer to prepare your metal. Red oxide primer is a specially formulated coating to be used as a base coat for ferrous metals to stop corrosion. Use a brush to apply two coats of the primer. Each coat will be dry to the touch in about 2 hours, but not fully cured for about 6 hours. Red oxide primer will be ready for the metal coating after 24 hours.

Hot Patinas

Hot patinas are applied to base metal (or to a reactive base coat) that has been heated to around 200° as opposed to cold patinas which are applied to the metal at room temperature. A wide variety of colors and effects can be achieved. Heating the metal opens its pores, which allows the chemical to bond more tightly to the surface. After cleaning the piece with degreaser, heat the metal to around 200-250°F. To test this spray a few drops of distilled water on the metal. If the water sizzles or steams but does not ball up, it is the right temperature. If the water balls up and bounces off, it is too hot. If the water runs off without steaming, it is too cold. Apply the patina to the hot metal. Using a spray (bottle or compressor) will provide more even coloring. Stippling with a stiff, short-haired brush will provide marbled, mottled effect. Continue heating as needed to keep the metal hot during patination.

Cold Patinas

Cold patinas mean that chemicals are applied to metal that has not been heated. After cleaning with degreaser, chemicals are applied to the surface of your metal by spraying, brushing, sponging or by dipping. Cold Patinas take longer to develop and are less durable than hot patinas.

Sealing the Patina

Patination on metal must be sealed. Left unprotected, moisture and ambient chemicals will alter the color of the patina and rust and/or pitting is likely to occur. A textured surface will oxidize more quickly than a smooth one. There are many final coat options for metal that produce varied finishes (e.g. shiny, satin, glossy, matte) including lacquer, acrylic, waxes and oils. Topcoats should always be applied in thin layers. Don’t forget to use your respirator! Solvents are often used to thin topcoats and for cleaning up (e.g. acetone; xylene; methyl ethyl ketone) and the vapors can be pretty nasty (toxic and flammable).

This introduction to chemical patination is just the beginning of a longer conversation. There is a learning curve associated with even basic patina application. So, I’ll be writing more posts about patination: specific methods for chemical application; how different metals receive various chemicals; and tips for putting final luster on your metal art. Have fun.

Completing a new piece of art often takes longer than you expect. The inherent demands of the work take patience and time; and the artistic process itself can be lengthy. Add in the ever-escalating mandates of daily life and things can really slow down. Other times, we’ll be moving along at a nice clip on a piece when - BAM – just like that we find ourselves stuck. We just hit a wall. Days pass without much movement. Plans to be done by the weekend drop away. Suddenly it feels like the piece will never be completed. Oh Calamity!

Now, now. Settle down. Trying to command insights and solutions to instantly appear hardly ever works. I mean really - how do you respond to stress and the grinding thumb of pressure? Does it spark your best performance or do you rebel - become defiant - shut down? So the first thing to do (always) is: Be cool.

I promise you, inspiration has not burned out. The truth is, creativeness is always alive inside of us; and, creativity is, and will always be, incandescent. Your genius has not deserted you; it has just gone into hiding and is waiting for you to coax it out again. In this blog I’ll let you in on the secrets for courting your muse.

Creativity flows from a state of feeling secure so you can take risks. It requires a certain daring. After all, new ideas can be wrong. When you try to implement creatively, there will almost always be missteps. When your mind detects subtle, unconscious threats, things like performance pressure and deadlines, you tend to stay more focused on the topic so you don't make any errors; thus, you never stray far from where the problem is and you don't try to find new strategies for what you are trying to do. To think differently means you must fly in the face of reason and common sense. This takes a person of considerable self-assurance.

A good way to start is to take inventory. Look carefully at what you are doing. Is there a tool that you don’t have or a part that is missing? Once you identify a specific deficit it’s easy enough to acquire what is needed. But taking inventory also means asking yourself: Do I know everything I need to know? Creativity doesn’t flourish under pressure but it doesn’t flourish in a vacuum either. If information or skills are lacking, get to work. Once you have the physical and intellectual goods you need, solutions will tend to unfold naturally.

On the other hand, if you’ve done your homework and you have all the resources and knowledge required to get the job done, ease up on yourself. Have a little confidence in your own expertise. There will always be obstacles. Embrace your current situation for what it is and for as long it remains. Try to go with the flow. Plowing ahead, unheeding, can really screw things up.

Another reason not to fight against the current is that resistance creates an anchor of negativity. Negativity is not sexy. It will definitely not entice your creative spirit. Refocus your energy on generating a positive state of mind, body and space. A positive mood literally expands the scope of your thought. If you’re in a bad mood, your brain will not key into subtle unconscious ideas; it will just go where the strongest neural activity lights up - which is usually the first old rut it finds. A positive mood increases your sensitivity to ideas that are weakly activated and unconscious. You want to get the obvious ideas out of the way to make room for hunches, inklings and strange flashes of insight. You want to be alert to new possibilities when they pop into your head.

There are a couple of good tricks that will nurture a positive mood. To begin with, when you’re feeling stressed out and blocked, power down. I know, it’s not always easy but if you can, step away from the tools, the technology and the problem itself.

Next, pick up a pencil. Since creativity is about linking up bits of information it helps to organize your thoughts. Write down what you have done so far and make a list of the next steps. By removing the clutter inside your head you make room for new, creative ideas. Putting your process on paper helps sustain slow hunches; in other words you may reformulate the problem rather than having to find a totally new solution.

Now with that same pencil, pick up a pad and sketch itout. Engage your senses beyond the realm of words and really visualize a prototype. As you draw, challenge constraints as you encounter them. It can help to think of the piece from another artist’s point of view. Creative blocks can be the result of our confinement to old experiences and expectations. Imagine, how would the piece look if Da Vinci, Margritte or DuChamp created it? By removing ourselves from our work and observing it from the lens of someone else, we gain a different perspective. Get loose. Entertain unconventional, even radical changes. Make weird connections between seemingly unrelated ideas. Novelty, by definition, lies outside traditional methods so by bringing together a bunch of different concepts, tools, capabilities, and ways of thinking you will be more inspired.

Okay, now put down your pencil. Stand up and look around. How do you feel? If you are in a small space, your focus can get cramped - your visual attention doesn’t spread out. When your visual attention is constricted, your conceptual attention becomes narrow and your thinking is more likely to be analytical. In a larger space – a place with high ceiling or windows with vistas and lots of light, your visual attention expands to fill the space and your conceptual attention expands too. If you can see far and wide, then you can think far and wide. That's why getting outdoors and taking a walk can reinvigorate you. Large, airy spaces with soft, rounded features and natural colors (blues and greens) have all been associated with relaxation, expansiveness and feeling safe - all good things for enhacing creativity.

It is amazing how often a solution will make itself known only when you step away from the problem and stop staring at it in the nose. Sometimes an answer is a hundred and eighty degrees from where you are looking. Inspiration favors flexibility, an open mind and a receptive space. When you take a break from a problem that you’re stuck on and do something completely different, you let go of the bad ideas you’ve become fixated on. This allows other ideas, better ideas, to bubble to the surface. When you’re working on a problem but can’t seem to solve it and you take a break, part of your brain remains active to the problem so you are sensitized to anything in the environment related to the problem. You will notice relevant details and may make an association which then pops suddenly into your awareness. Ah, sweet inspiration.

Of course, there are a lot of ways to take a break, the most obvious being to grab a coffee or a beer or any of the other in the long list of seductive intoxicants. But there are other ways to take a break that will likely foster creativity. One way is to get some sleep. Sleep is a powerful tool for promoting ingenuity. If you’re stuck, take a nap. It will help you purge the bad ideas and you’ll be more attuned to clues that might solve the problem. Sleep rearranges and consolidates thinking so that details, hidden relationships and unusual connections can be revealed.

Another trick is to do nothing at all. When you consciously do nothing, the brain will churn over ideas and incubate associations. This process gets super-charged when you sleep but if you can’t take a nap, just try doing nothing. The balance between doing nothing and doing something fuels creativity.

If doing nothing makes you feel like crawling out of your skin, then it’s a good time to get out of the studio. Get to a museum or hit that exhibit you’ve been meaning to attend. No matter that it doesn’t relate to your work - in fact, tha's probably better. Novel images, textures, sounds and colors will renew the flexibility of your mind.

Not in the mood for a museum? Then go play. Get yourself out to ultimate field or, if you findyourself without a Frisbee (heaven forbid) do something else you that lets you break a sweatand be childish. Exercise reduces stress and is a natural mood enhancer. Besides, playing is fun. That’s why kids do so much of it. Children are endlessly creative. They are spontaneous. Their imagination is unrestrained; they break the rules; and, they believe that anything is possible. By flexing your body and finding your childlike inclination for play, you will ignite your creativity.

Now that you’re all sweaty, you’ll want to clean up so find some water to splash around in. Whether you go swimming or stand under a waterfall, water helps you release the boundaries between your body and your thoughts. If you are employed or (sigh!) have a rich patron, I encourage you to immediately put in a critical request for both a pool and a hot tub. Research will back you up – being in water is associated with inspiration – it’s evidence-based! We are hardwired to react positively to water. A lot of dopamine gets released (remember the womb). If you don’t have lavish access to a nearby ocean or spa, you can at least take a shower. The shower is pure downtime. It’s a great place to let your mind wander and incubate thoughts. The water is warm and soothing and you drop your defenses, which engenders feelings of connection and empathy. The white noise in the background induces a mild meditative state. Let the water flow over you and allow your mind to wander and broaden.

To review:

Be Cool

Take Inventory

Refocus your Energy

Power Down

Pick Up a Pencil

Organize your Thoughts

Sketch it Out

Expand your Space

Take a Break

Get some Sleep

Do Nothing

Get Out of the Studio

Go Play

Break a Sweat

Be Childish

Find some water and splash around

Now that you have all my secrets I assure you, your muse will be smitten. Incandescent creativity will flood through and around you.

Isn’t it a lovey truth that inspiration is merely the discovery of something that is already known?